GH2 Should I keep my RED ONE MX?

[Jim Simon]

I would rather shoot with a GH2, PL Mount, excellent primes or anamorphic.

I'm curious what anamorphic adapter you'd use in this hypothetical. Are there any 1.33:1 made for m4/3 lenses?

 

[Jim Simon]

the world will soon move to an all-4K distribution system. So... that's why I'm torn.

Pfft! "The world" still hasn't fully embraced HD yet, and it'll be another decade or more before it does. 4K in the home is a looooooong way off.

 

[stoneinapond]

It doesn't matter if producers have no business making equipment decisions, the fact is that they do and are....
...Wishful thinking and "being right" will not make those people or their mentality go away.

I hear you.

But...

The discussion wasn't about being hired out. It was about someone wanting to make an independent movie, who is most probably acting as his own producer, and already has a choice of cameras.

Two very different scenarios.

The OP has already made his decision so I don't think we need to belabor the point.

 

[jambredz]

Also, on the lens front if you you can look into Rokinons cine line up of lenses.

 

[zijital]

I believe that story & talent matter more than the equipment.

Equipment is a necessary tool to "build" a film, but the other stuff matters more.

Red is going to be better than a GH camera, but if shooting a GH means you can hire better talent & tell a better story, then shoot with the GH.

 

[Jaime Valles]

Fascinating discusson. Thanks all for the grea feedback!

Pfft! "The world" still hasn't fully embraced HD yet, and it'll be another decade or more before it does. 4K in the home is a looooooong way off.

I agree that the viewing public hasn't fully embraced HD yet, but I'm not talking about VIEWING 4K footage at home... I'm talking about distributors ASKING for 4K footage as the master deliverable. It will be several years before any of us are watching 4K broadcasts, but that's irrelevant if the distributors WANT 4K footage now. Try selling an indie film to a distributor today that was shot in SD and you'll find it's next to impossible.

And, yes, many Hollywood movies are currently being shot on 2K or 1080p (The Avengers, Skyfall, etc.) but that's because the people involved have enough power and clout to get away with it. For us unknowns, the distributors will demand the highest quality source footage available.

And, don't get me wrong. I LOOOVE my GH2. I think it produces a great image, capable of telling a story well, without showing any obvious visual faults. And I think it's awesome that Shane Carruth shot his latest movie on a GH2, and can't wait to see it myself. I just don't want to get burned the same way I did before, so I'll shoot this next movie in 4K.

 

[stoneinapond]

I just don't want to get burned the same way I did before, so I'll shoot this next movie in 4K.

Now that would be interesting if you care to share the details.

I think that 4K is still only an acquisition format since how many theatres have 4K projectors? I don't know the ins and outs of distribution (perhaps someone who does can chime in) but I would venture a guess that someone, perhaps the producer, provides the distributor with a currently distributable format, in which case down sampling from 4K might be the preferable scenario.

But it's always good to be future proofed.

Thanks for giving us the opportunity to have the discussion, and again best of luck.

 

[hscully]

Most the theatres around here are CineAlta 4K. So they shot Skyfall at 2K on Alexa, RAW probably and all that and then uprez that to 4K (or not) it still looks pretty smoking on a 4K screen. So... all the people shooting on Alexa are making some horrible mistake? Eh... I don't think so.

Now I don't think that any of my films are going to be "re-mastered" in glorius "true 4K" any time soon. Maybe TV people think about this for future 4K TVs or something but the notion of productions demanding a 4K deliverable but something doesn't sound right with this. Why should I worry about aquiring 4K now for a distant remaster.. you know?

Anyway, if I were in your shoes, Jaime, I would be looking at being able to get the best movie I can get up on the screen right now. I'd be into the latitude in DR and the latitude in post that shooting on that RED provides. That 4K resolution is great right now for stabilization or reframing and seen on either on a 720p DVD or 1080 or projected in whatever is going to hugely valuable right away... whatever the future holds

 

[Kholi]

I'm curious what anamorphic adapter you'd use in this hypothetical. Are there any 1.33:1 made for m4/3 lenses?

Hey Jim, sorry I missed this question. I'd actually just use Hot Rod's PL Adapter and a set of Kowa Anamorphics that I have access to.

https://vimeo.com/48428062

This is cropped out of the much wider frame, which yeah you lose a lot of resolution, but it would've looked a lot "Sharper" had I not used a fader ND out of desperation. It gives you room for interesting post pans provided you frame accurately.

I still might do it, but with Blackmagic instead for the resolution increase, lowlight sensitivity, DR etc.

The uncropped version is here:

https://vimeo.com/48430639

Now that would be interesting if you care to share the details.

I think that 4K is still only an acquisition format since how many theatres have 4K projectors? I don't know the ins and outs of distribution (perhaps someone who does can chime in) but I would venture a guess that someone, perhaps the producer, provides the distributor with a currently distributable format, in which case down sampling from 4K might be the preferable scenario.

But it's always good to be future proofed.

Thanks for giving us the opportunity to have the discussion, and again best of luck.

Vallas is absolutely right. There is an advantage to 4K in that a distributor's likely going to be asking if you acquired in 4K within the next two years. Planning ahead for that doesn't hurt. But, remember, that's a 4K master. Mastering in 4K is a ways bit o'different for many reasons, and of course much more expensive when you have to go and get deliverables done etc.

The fact that it's so uncommon means it's going to come at a price that may likely be well out of the no budget filmmaker's range.

And oh boy, if you have any VFX to do... yikes.

 

[StevenBills]

Holy sh**, did not know that this was shot on the GH2... ha, gotta admit that is pretty cool. I watched the preview last month and being a primer fan, have been anticipating pretty much anything done by Shane. This being done on the GH2 is just icing on the cake for me. I'm in Utah anyway, so no excuse not to go check this out at Sundance.

L1N3ARX, where in Utah are you located?